Valerie June

DSP Shows

Valerie June

Parker Gispert

Sat · May 4, 2019

Doors: 6:00 pm / Show: 8:00 pm

Gateway City Arts

Holyoke, MA

$30.00 - $35.00

Sold Out

General Admission Seated Show

The Bistro at Gateway City Arts is open until 10pm on show nights, during these events there is counter service and we are unable to take reservations. Due to the high volume of patrons entering for the show, we will be serving a special event menu. To find out more about our menu and dining hours, visit or call (413) 650-0786.

Valerie June
Valerie June
"Understanding the order of time is important to anyone hoping to manifest a dream," says Valerie June. "There is a time to push, and a time to gently tend the garden."

Since the release of her 2013 breakout Pushin' Against A Stone, June has been patiently at work in the garden of song, nurturing seedlings with love and care into the lush bloom that is her stunning new album, The Order Of Time. Some songs grew from seeds planted more than a decade ago, others blossomed overnight when she least expected them to, but every track bears the influence of time. See, time has been on June's mind a lot lately. It's the only constant in life, even though it's constantly changing. It's the healer of all wounds, the killer of all men. It's at once infinite and finite, ever flowing with twists and turns and brutal, churning rapids that give way to serene stretches of placid tranquility. Fight against the current and it will knock you flat on your ass. Learn to read it, to speak its language, and it will carry you exactly where you're meant to be.

"Time is the ruler of Earth's rhythm," June explains. "Our daily lives revolve around it. Our hearts beat along to its song. If we let it, it can be a powerful guide to turning our greatest hopes and dreams into realities."

June knows a thing or two about turning hopes and dreams into realities. With Pushin' Against A Stone, she went from self-releasing her music as Tennessee's best kept secret to being hailed by the New York Times as one of America's "most intriguing, fully formed new talents." The New Yorker was captivated by her "unique, stunning voice," while Rolling Stone dubbed her "unstoppable," and NPR called her "an elemental talent born with the ability to rearrange the clouds themselves." She astonished TV audiences from coast-to-coast with spellbinding performances on The Tonight Show, The Late Show, Austin City Limits, Rachael Ray, and CBS Saturday Morning, and graced some of the world's most prestigious stages, from Carnegie Hall to the Kennedy Center. First Lady Michelle Obama invited June to The White House, and she toured with artists like Sharon Jones&The Dap Kings, Sturgill Simpson, Norah Jones, and Jake Bugg in addition to flooring festival crowds at Bonnaroo, Outside Lands, Newport Folk, Hangout, ACL, Pickathon, Mountain Jam and more. In the UK, the reaction was similarly ecstatic. June performed on Later...with Jools Holland, joined a bill with the Rolling Stones in Hyde Park, and took the press by storm. Uncut praised her "remarkably careworn vocals," MOJO swooned for her "glorious sound," and The Independent's Andy Gill wrote, "June has the most strikingly individual delivery I've heard in ages."

When it came time to record the follow-up, June felt liberated by the success, fearless and more confident than ever in trusting her instincts and following her muse. There was to be no rushing the music, no harvesting a song before it was ripe on the vine and ready to be plucked. When she sensed the time was right, she headed to rural Guilford, Vermont, with producer Matt Marinelli, spending long stretches through the fall and winter living and recording away from the hustle and bustle of her adopted home of Brooklyn.

"They made us feel so welcome in Vermont," remembers June. "I was cooking amazing food and hanging out with the band all the time. There were long talks and long walks in the snow, and friends would come up for holidays. I felt like I put myself in a place where I could really soar. With the last album, I was absorbing and learning and developing so much in the studio, but this is me taking the things I learned and the things I felt in my heart and fighting for them."

In her heart, June is a songwriter first and foremost, willing and able to blur the lines between genres and eras of sounds. The result is an eclectic blend of folk and soul and country and R&B and blues that is undoubtedly the finest work of her career. Opener "Long Lonely Road" settles in like languid southern heat, as June looks back to the sacrifices of her parents and grandparents, singing in a gentle near-whisper of the sometimes difficult, sometimes beautiful journey we all must undertake in search of brighter days. On the soulful "Love You Once Made," her voice is backed by rich horns and vintage organ as she makes peace with the specter of loss and the ephemeral nature of our relationships, while the bluesy juke joint rocker "Shake Down" features backup vocals from her brothers, Jason and Patrick Hockett and father, Emerson Hockett recorded at home in Tennessee, and "Man Done Wrong" centers on a hypnotic banjo riff that's more African than Appalachian.

"People shouldn't necessarily think of bluegrass when they see the banjo," explains June. "It was originally an African instrument, and people in America used to play all kinds of banjo: mandolin banjo, ukulele banjo, bass banjo, classical banjo, jazz banjo, there were even banjo orchestras. For some reason people like to limit it and say it just has to be in folk and bluegrass, but to me it can be in anything, and I really wanted to set the banjo free on this record."

The banjo turns up again later as the underpinning of the R&B rave-up "Got Soul," which plays out like a mission statement for the entire album, as June offers to "sing a country tune" or "play the blues" but reveals that underneath it all is her sweet soul. Those genre terms might be simplistic ways to attempt to define her, empty signifiers creating distinctions between sounds where June sees none. "With You" channels the sprightly, ethereal beauty of Nico with fingerpicked electric guitar and cinematic strings, "Slip Slide On By" grooves with shades of Van Morrison, and "If And" slowly builds over meditative hum that hints at John Cale.

Despite the music's varied nature, the songs all belong to a cohesive family, in part because they're tied together by June's one-of-a-kind voice, and because they're all pieces of a larger rumination on the passage of time and how it affects us. The ultimate takeaway from tracks like "The Front Door" and "Just In Time" is that the present is all we have. Everything around us (our loved ones, our youth, our beauty) will someday fade and disappear, but that transience is what makes those things all the more magical. We're given this brief moment to share our love and light with the world, and when, as June sings on the album, "Time's hands turn and point straight towards you," you'd better be ready.

Thankfully for us, June was ready when time told her to harvest these songs. In the garden, as in life, there is a time for everything and the moment has finally arrived to enjoy the fruits of all her labor. With The Order Of Time, Valerie June has prepared a bountiful feast, and there's a seat at the table for everyone.
Parker Gispert
Parker Gispert
Parker Gispert was still in college when he helped form the Whigs in the early 2000s. But
after five critically-acclaimed albums, hundreds of tour dates all over the world with the likes of
Kings of Leon, Drive-By Truckers, the Black Keys and many others, and television appearances
everywhere from the Late Show with David Letterman to Jimmy Kimmel Live!, the Athens,
Georgia-bred rockers decided to pull back on activity in 2017.
Which left Gispert, who had spent the majority of his adult life either in the studio or on
the road with the band, at a crossroads.
“It occurred to me that if I wanted to record and tour that I was going to need to do it solo,”
the singer, songwriter and guitarist says. “I'd always thought about it in the back of my mind as
something that I wanted to do one day, but ‘one day’ had never really come.”
Now, ‘one day’ is here in the form of Sunlight Tonight, Gispert’s debut solo album
(produced and mixed by Emery Dobyns). The eight-song effort finds Gispert, known for leading
the Whigs through raw and jangly southern-garage rave-ups, taking a decidedly different
musical approach—biting electric guitar riffs are cast out in favor of gentle acoustic picking and
strumming, and his band mates’ raucous rhythms are traded in for minimal accompaniment
that includes light bass and drums, orchestral strings and even trumpet. Gispert’s lyrics,
meanwhile, are his most introspective and personal to date (albeit with a bit of humor thrown in
here and there) and they’re delivered in a vocal style that finds him pushing out on his range. “I
didn't need to project over a band, so I was able to sing in registers I hadn’t really used before,
like a lot of high falsetto,” he explains.
The end result showcases a different side of the artist, to be sure. But it’s one that Gispert
felt compelled to explore. “A lot of guys from rock bands that go solo, they just hire another
bassist and drummer and go make another album,” he says. “I didn’t want to go that route.”
Ultimately, his change in musical direction was helped along by a change in geography. A
longtime resident of Nashville (by way of Atlanta, and then Athens), Gispert last year accepted
an invitation from a friend to visit his 100-acre hemp farm, located roughly an hour outside
Music City. “It was like out of a total time warp,” Gispert recalls of the property. “No heat or AC.
No animals. No active crops. Water from a well. It was just, like, a house and a plot of land. I
ended up staying there for a year.”
That plot of land was where Sunlight Tonight came into being. “I would wake up early and
get my guitar and walk outside and come up with all these songs,” Gispert says. “And without a
band to turn to as the deciding factor on, say, a melody or a lyric, I ended up turning to the
scenery and the landscape I was dealing with instead. The farm was like my collaborator—it kind
of answered everything for me, as weird as that sounds. And the songs started coming pretty
The first one that came is also the one that opens Sunlight Tonight—a psychedelia-laced
meditation titled “Through the Canvas.” Built on a bed of acoustic guitar and cello, the song
finds Gispert laying out what is essentially a statement of purpose: “Suddenly I got up /
Suddenly I could move / shook off all the bullshit that was weighing down my shoes.”
Explains Gispert, “With the Whigs, I had been in that band since I was a teenager. So when
that slowed, I found myself in a place where I was almost paralyzed, like, What do I do next? It
was just confusing. But that song sums up what happened when I got to the farm. It was like,
suddenly I got up, grabbed a guitar, walked down to this big field and...”
Shook off all the bullshit?
Gispert laughs. “Yeah. And bullshit was exactly the word to describe it. It was all the
worries. All the fear. All the drama. All the stuff you can’t even articulate. After I put all of that
behind me I was able to set out on this journey of making a solo record.”
That journey ended up being very unlike any Gispert had embarked upon previously. For
starters, he says, “I wrote all of the songs for the record while outside, and that’s something I’d
never done before. Usually I’d be in a cramped apartment or a studio space—not, like, walking
around outside in a big open field at 1:00 AM, just singing and playing.”
He laughs. “And the good thing is, I was on this secluded property, so nobody could see
me—it didn't matter if I looked like a total goofball just wandering around in my jean shorts
strumming an acoustic guitar.”
The material that Gispert came up at the farm with was primarily acoustic-based, but at
the same time still incredibly diverse, from the dark folk of “Magnolia Sunrise” to the ambient
tones of “Life in the Goldilocks Zone”; the T. Rex-y groove-glam of “Volcano,” to the lo-fi
garage-fuzz of “Is It Nine”; the exuberant mariachi-horn-rock of “Too Dumb to Love Anyone”
(the one composition Gispert says was originally written with the Whigs in mind) to the oddball
genre exercise “Do Some Country.”
That last one also features some witty wordplay (“I am a rock artist,” Gispert sings, before
adding, “I paint pictures on limestone”), as well as a unique origin story regarding its title. “I was
at a Nikki Lane show,” Gispert recalls, “and in between songs this woman in the audience kept
yelling [in heavy southern accent] “C’mon Nikki! Do some country!” And my friend and I were
just like, ‘Man…that would be such a sweet song title!’ ”
There are other lighthearted moments on Sunlight Tonight, such as the
nursery-rhyme-like “Is It Nine,” on which Gispert attempts to determine which number would
fit best into the alphabet. The genesis of that riddle? “It was just a ridiculous question I asked
myself, and I had never heard a song about that particular question before,” he explains. “So I
thought for my first solo album it would be a good idea to have one track that was uniquely
‘Parker.’ Because there are so many love songs or political songs or whatever out there already.”
Which is not to say that Gispert shies away from those topics on Sunlight Tonight. “Too
Dumb to Love Anyone,” for one, addresses his present station in life as an unwedded man. “I'm
36, and most of my friends are at that point where they’re getting married and having kids,” he
says. “And my friends' wives will say things to me like, ‘Parker, when are you gonna meet
somebody and join the club?’ So I always say, the only thing standing in between me and a great
relationship is that the idea has never occurred to me.”
Then there’s “Magnolia Sunrise,” which unfolds somewhat uneventfully, with Gispert
grabbing breakfast at a local diner (“Coffee, Tennessee / grits made to order”) before an anxious
waitress shatters his mundane tranquility: “There’s still a lot that could go wrong,” she tells him.
As the guitar accompaniment builds and the orchestral strings turn frantic, Gispert intones,
ominously, “One Saturday morning / there will be no warning.”
The narrative, Gispert says, “is based on a real interaction I had, at a diner right down the
road that I’d go to all the time in the mornings. I ended up talking to this waitress who was
having irrational fears of, like, a hurricane coming, or a nuclear threat. It brings up this idea of,
you could be chilling out, enjoying your day, and when you least expect it, that's when something
happens—tragedy could be right around the corner.”
Clearly, Gispert’s environment and experiences at the farm factored heavily into the words
and music he wrote for Sunlight Tonight. But when it came time to record the material, he left
his rural surroundings behind and headed back into Nashville, cutting tracks at Blackbird
Studios and Hacienda Studios, with producer Emery Dobyns (Patti Smith, Antony and the
Johnsons) at the helm. Dobyns also added various instrumentation to the tracks, alongside
contributions from Black Keys drummer Patrick Carney, former Sparklehorse vocalist Sol Seppy
and Adele bassist Samuel Dixon, among other musicians. “It was like there was one phase of the
record, which was me alone writing everything,” Gispert says. “And then there was the second
phase, the studio phase, which was very much a team effort, with Emery shaping the record
sonically and production-wise.”
When it comes to playing this material live, however, Gispert has been going it alone—an
atypical arrangement for him onstage, but one that he’s been finding incredibly satisfying. “I
love it a lot,” he says about being out on his own. “I feel really comfortable up there by myself,
and in some respects I'm able to connect with the crowd in a way that I never was able to do with
a band.”
That said, Gispert still gets plenty of opportunities to play with his band, as the Whigs
continue to reconvene for sporadic live shows, including a recent spate of dates celebrating the
tenth anniversary of their 2008 record, Mission Control. But far from his solo endeavors having
a negative impact on the group, he’s found the opposite to be true. “I'd always been afraid of
doing something solo because I thought it might mess up the band vibe, but now I'm able to see
that it actually helps,” Gispert says. “When we do get back together to play, it's fun and it's fresh
and it has new life.”
As for what the future holds, Gispert is open to any and all possibilities that might follow in
the wake of Sunlight Tonight. “Because I didn't even see any of this happening, you know?” he
says. “So I can’t really say what comes next. But it’s almost like a weight off my shoulders to not
really know where I'm going from here.”
One thing he can say for sure: the farm that served as both inspiration and companion to
Gispert throughout the writing process for Sunlight Tonight is now a thing of the past.
“I’ve moved away,” he reports. “I’m living over by a lake now.”
Gispert laughs. “I’m trying to switch it up.”
Venue Information:
Gateway City Arts
92 Race Street
Holyoke, MA, 01040